Do mellifluous words set you atwitter? Do powdered wigs and Converse sneakers make you jitter? Would missing a night of hilarious hijinks, deftly performed by Sonoma County’s own Spreckels Theatre Company make you bitter?
Then, by all means, do yourself a favor and drive the short distance to Rohnert Park to see The Metromaniacs, playing now through Sunday, December 17th in the Spreckels Performing Arts Center studio theatre.
… plenty of laugh-out-loud moments throughout the performance …
The Metromaniacs is a translation and adaptation by David Ives of a little-known French play written in 1738, entitled La Métromanie (also called The Poetry Craze). Ives became intrigued with the play due to its comedic underpinnings based on a real-life scandal in which none other than the great Voltaire professed his love for and desire to marry a highly esteemed yet unknown poetess, only to find out that the “Mademoiselle” was in fact a Monsieur, writing under a pseudonym to exact revenge on poetry-mad society that had ignored works published under his own name.
The play was written in verse, was hilarious, and its author had also written a “lengthy poetic Ode to the Penis.” Those facts clinched the deal for Ives, who had adapted two French comedies for the Shakespeare Theatre Company and had enjoyed the process so much, he sought out a third. [Editor’s note: David Ives is not only a brilliant translator, especially of Moliere, but is a wonderful comedic playwright himself. “All in the Timing”, his collection of one-acts, includes a hilarious piece called “The Universal Language.”]
Spreckels director Kevin Bordi’s spare suggestion of a set-within-a-set exists sans the 4th wall, which allows the audience to engage (albeit silently) with cast members as we serve as guests invited to the grand estate of Francalou (Edward McCloud), who’s hosting a play intended to draw suitors for his unmarried, poetry-loving daughter Lucille (Mercedes Murphy).
Brady Voss plays the delightfully obsessive poet and would-be playwright Damis in Spreckels Theatre Company’s “Metromaniacs,” a farce about poetry fans by David Ives. Photo by Jeff Thomas.
Talented yet penniless poet Damis (the fabulously over-the-top Brady Voss) believes that the mysterious Mlle. Meridec de Peaudoncqville is also in attendance, and Francalou—the actual composer of the poems ascribed to the non-existent Mlle. Meridec—leads Damis to believe that Lucille is the real Mlle. Meridec.
Tajai Britten plays the opportunistic Mondor in “The Metromaniacs,” now at Spreckels. Photo by Jeff Thomas.
With hidden and mistaken identities, pseudonyms, outrageous plot lines (Ives described The Metromaniacs as “a comedy with five plots, none of them important”) and outlandish dialogue delivered in rhyming couplets, there are plenty of laugh-out-loud moments throughout the performance.
Edward McCloud (right) as the wealthy poet Francalou, with Sarah Dunnavant as the scheming servant Lisette, in “The Metromaniacs.” Photo by Jeff Thomas.
Voss, Murphy and Sarah Dunnavant (as Lisette, a servant disguised as mistress Lucille) all deliver their lines with aplomb, but this reviewer thought that some other players seem more focused on correctly reciting the trippingly tricky rhymes, rather than allowing their characters to carry on actual conversations with one another.
The dialogue in The Metromaniacs is some of the most challenging I’ve encountered outside of Shakespeare. Despite that bit of difficulty, the audience—myself included—laughed heartily and often and thoroughly enjoyed this engaging and entertaining performance.
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ASR Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. She is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
The Metromaniacs
Translated & Adapted by
David Ives
Directed by
Kevin Bordi
Producing Company
Spreckels Performing Arts
Production Dates
Through Dec 17th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Spreckels Theatre Company lit up the 500-seat Nellie W. Codding Theatre at Friday night’s brilliant opening of the beloved classic Hello, Dolly.
With music and lyrics by Jerry Herman and book by Michael Stewart, director Elly Lichenstein’s production is refreshingly true to the original. Set in 1890s Yonkers and New York City, the play follows the machinations of Dolly Gallagher Levi, a former socialite forced to use her prodigious wiles as matchmaker and “arranger of all things” to earn a living after the death of her beloved husband Ephraim. Exhausted by the effort required to keep herself afloat, Dolly sets her sights on snaring the “well-known half-millionaire” Horace Vandergelder, while ostensibly trying to match him with comely milliner and widow Mrs. Irene Molloy.
The choice to stage Dolly in the wake of the complex (and also outstanding) contemporary Irish comedy Stones in His Pockets was a bit of showbiz genius by Spreckels’ Artistic Director Sheri Lee Miller. While at first glance the plays appear wildly disparate, in fact, they both explore the theme of the effects of living in wealth versus poverty, a topic of vital relevancy today as “haves” continue to displace “have nots,” housing prices soar, and wages stagnate.
While some might view Dolly as a gold digger, she is not at all interested in hoarding wealth, as evidenced by her assertion that she adheres to her former husband’s belief that, “Money, pardon the expression, is like manure. It’s not worth a thing unless it’s spread around, encouraging young things to grow.”
(Pictured: Daniela Innocenti Beem as Dolly Levi and Chris Schloemp as Horace Vandergelder).
Perfectly cast in the title role, Daniela Innocenti-Beem radiantly guides the action, charming the audience from her first appearance walking down the center aisle, handing out business cards for every conceivable need before taking the stage to introduce herself in song in the delightful “I Put my Hand In.” The spotlight always appears to shine brighter in her direction.
She’s a solid performer, whether enlivening the many comic scenes, conveying tender wistfulness as she beseeches her deceased husband to send her a sign, dancing, or showcasing her superb voice. Innocenti-Beem is absolutely the star of this show!
Chris Schloemp is spot on as gruff, miserly and calculating Horace Vandergelder. Zane Walters’ combination of earnestness and humor in his portrayal of Chief Clerk Cornelius Hackl hits just the right notes. Both men shine in their respective roles. Fun-loving widow Irene Molloy is deftly played by Madison Scarbrough, whose clear and rich tones during the gorgeous “Ribbons Down My Back” made the song a show-stopper. Kaela Mariano as Ermengarde is also a standout in her perfectly over-the-top depiction of Horace’s spoiled niece. There’s not a lackluster performance in this show!
“Hello Dolly” cast at work.
Set design by Eddy Hansen and Elizabeth Bazzano is beautifully augmented by Nick Lovato’s skillful projections. Lighting and sound design by Eddy Hansen and Jessica Johnson are straightforward and effective. Choreography by Karen Miles, superb throughout the show, reaches its crescendo during the madcap performance of the “Waiter’s Gallop” preceding dinner service at the Harmonia Gardens. Music Direction by Debra Chambliss is impeccable. Many guests made their way to the orchestra pit as the performers left the stage to enjoy seeing the musicians play the final notes of the evening. Oh, and you just have to see the wonderful costuming by Donnie Frank.
Spreckels Theatre Company’s production of Hello, Dolly is musical theatre at its best and kept this reviewer smiling throughout the performance and happily humming all the way home.
With an abbreviated schedule due to an unforeseen issue which caused the play to open a week late, Spreckels has added a special-price performance on Thursday, October 12 at 7:30 P.M. during which all tickets will be $20 for adults and $10 for youth 18 and under. Grab your tickets right away—the show ends its too-brief run October 15th.
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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. She is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Hello, Dolly
Music & Lyrics by
Book by
Jerry Herman
Michael Stewart
Directed by
Elly Lichenstein
Producing Company
Spreckels Performing Arts
Production Dates
Through Sept 10th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Something special is gracing the stage at Spreckels’ intimate Condiotti Theatre, and it’s worth every penny of the price of admission. Playing now through September 10, Stones in His Pockets is, simply put, a master class in theater done right. And it’s no easy feat, at that.
As touching and insightful as it is laugh-out-loud funny, this whip-smart Irish comedy demands an awful lot of its only two actors, who are tasked with filling the shoes of no fewer than fifteen characters of varying ages, cultures, social classes, and genders. This would be challenging enough were it not compounded by zero costume changes, no props beyond two simple wooden crates, and a bare-bones stage with only a small stone wall and a projection screen to serve as its backdrop.
…”Stones in His Pockets” is simply a must-see masterpiece of local theater…
In less talented hands, this might add up to a confusing mess of mistaken identities and muddied transitions. But thanks to the careful stewardship of director Sheri Lee Miller, stellar casting and skillful staging combine to wring every last drop of humor and heart from playwright Marie Jones’s exacting script. And boy, is there a lot of it.
Irishmen Charlie and Jake (Jimmy Gagarin and Sam Coughlin, both phenomenal) become fast friends during their stint as extras on the set of a Hollywood epic that’s taken over their small rural town. But their starstruck excitement quickly fades. Behind the scenes is an industry that doesn’t care who it hurts, dehumanizes, or exploits in the name of wealth and fame. The show must go on, after all, at any cost – even when tragedy strikes. Jones manages to touch on some heavier subject matter and launch some incisive criticisms while never losing sight of the play’s comedic billing.
Sam Coughlin and Jimmy Gagarin. Photo courtesy The Sonoma Index-Tribune.
Gagarin and Coughlin are masters of their craft, moving seamlessly between characters (often multiple in the same scene) with apparent though undoubtedly hard-earned ease. Changes in posture, inflection, and dialect – some subtle, others dramatically overt – enable audiences to easily distinguish between characters. Each is impressively distinctive and fully formed. So much so, in fact, that on opening night, it was easy for this reviewer to forget there were only two actors on stage, so wholly convincing they were in each capacity. Hats off to dialect coach John Rustan for a job well done.
Among the colorful cast of side characters are glamorous leading lady Caroline Giovanni (Gagarin, whose affectations are hilarious), persnickety director’s assistant Aisling (Coughlin, also hilarious), spirited local elder Mickey Riordan (Coughlin), no-nonsense assistant director Simon (Gagarin), and a host of others who are all brought to life with sensitivity and self-possession. The actors’ chemistry shines through in every scene.
Though there’s little on stage, the stagecraft doesn’t disappoint. Gagarin and Coughlin are aided greatly by Chris Cota’s nuanced lighting and Jessica Johnson’s simple but effective sound design, subtly transforming the stage into a local pub with aptly-chosen background music and creating the illusion of a morning shower with perfectly timed sound effects. Allison Rae Baker deserves a mention here, too, for choreographing a charming Irish dance it’s clear the actors were having fun with on opening night.
Seldom does a production come along that checks all the boxes, but Miller has hit this one out of the park. Stones in His Pockets is simply a must-see masterpiece of local theater. It’s moving, it’s smart, and it’s wildly funny, to boot. Though the show must go on, this one’s only here for two short weeks. Don’t miss your chance to see Gagarin and Coughlin at the height of their powers.
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Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
Production
Stones in His Pockets
Written by
Marie Jones
Directed by
Sheri Lee Miller
Producing Company
Spreckels Performing Arts
Production Dates
Through Sept 10th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
If you had the option of living forever, would you?
Tuck Everlasting at Spreckels’ Codding Theatre brings just such a question to the stage, wrapping it in songs, dance and glorious costumes.
The story begins with Winnie Foster, an 11-year old (enchantingly enacted and sung by Molly Belle Hart) chafing at the restrictions her widowed mother (Erin Henninger) imposes. When Winnie runs away from home into the surrounding forest, she encounters Jesse Tuck, a young man of 17 (good-looking and great voiced Nico Alva.) He can live forever but she cannot, unless she drinks from the forest’s magic spring.
…a fun-filled show filled with energy…
Many interesting scenarios are raised in this production, admirably handled by the creative team of director Emily Cornelius, music director Janis Dunson Wilson, and choreographer Karen Miles.
There were “ooohs” and “aaahs” as the audience took their seats in the Codding Theatre – the stage a lush forest with twittering birds and leafy trees climbing the walls. Kudos to Eddy Hansen and Elizabeth Bazzano for designing an amazing tree that grows before our eyes. Further visual treats were the rear projection scenes, designed by Chris Schloemp, who enables the audience to climb above the forest canopy with Winne and Jesse. Schloemp also has a solid supporting role onstage as Constable Joe.
Petaluma’s Molly Belle Hart as Winnie Foster and Nico Alva as Jesse Tuck sing “Top of the World” in “Tuck Everlasting: The Musical,” at Spreckels Performing Arts Center. (Photos by Jeff Thomas/Courtesy of Spreckels Theatre Company)
Tuck Everlasting is a treat for eyes and ears, with more than a dozen dancing nymphs in flowing costumes (thanks to Donnie Frank) and an onstage orchestra led by Wilson. The scenery and over-the-top activity during the brightly colorful fair sequence is a three-ring circus indeed.
Local casting is spot-on, with favorite Tim Setzer as “The Man in the Yellow Suit,” a would-be exploiter of the eternal spring, and veteran actor Larry Williams as the laid-back Tuck patriarch Angus. What a pleasure to see and hear Kimberly Kalember as Nana and young Chase Thompson as Hugo. Mother Tuck is in superbly fine voice as played by Tika Moon, and Samuel J. Gleason as Miles Tuck brings a poignancy to the plot as he relates the story of his wife and son – no spoiler here.
Molly Belle Hart as Winnie Foster, with ensemble, in “Tuck Everlasting: The Musical,” now playing at Spreckels Performing Arts Center. (Photos by Jeff Thomas/Courtesy of Spreckels Theatre Company)
A big shout-out to young dancer Tyler Ono, whose athletic moves onstage are a delight to watch. He’s part of a shining cadre of teens who not only dance with supple grace but sing as well. Their Act I ensemble song “Partner in Crime” was a real crowd pleaser. Too bad there weren’t any more memorable songs delivered by songwriters Chris Miller and Nathan Tysen.
Tuck Everlasting is a fun-filled show filled with energy – perfect for teens and older. The philosophical thought it provokes isn’t over at the end of two hours…it’s everlasting.
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ASR Writer & Editor Cari Lynn Pace is a voting member of SF Bay Area Theatre Critics Circle and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County. Contact: [email protected]
Production
Tuck Everlasting
Book by
From the novel by
Claudia Shear & Tim Federie
Natalie Babbitt
Directed by
Emily Cornelius
Producing Company
Spreckels Performing Arts
Production Dates
Through May 21st
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
With amusing and sometimes moving lyrics and music by Stephen Sondheim, a charming book by Hugh Wheeler and an outstanding cast of Bay Area actors, A Little Night Music at Spreckels Performing Arts Center is regional theatre is at its best. The play is a rarity in that it’s a musical stage adaptation of a film, Ingmar Bergmann’s Smiles of a Summer Night.
At the dawn of the 20th century, Fredrik Egerman (Larry Williams) a previously widowed middle-aged attorney, has married lovely virginal 18-year-old Anne, (Brenna Sammon). Anne loves to tease Egerman’s earnest 20-year-old son, Henrik, (Samuel J. Gleason) a seminary student who wrestles with a secret passion for Anne, who has, eleven months after her nuptials, still not consummated her marriage to Henrik’s father.
Sexually frustrated, Fredrik seeks relief in the arms of old flame Desiree Armfeldt, (Daniela Innocenti-Beem) a once-renowned actress, who by chance is performing in Fredrik and Anne’s Swedish town, and has carried a torch for Fredrik for years. The lovers are interrupted by Desiree’s married lover, Count Carl-Magnus Malcolm (Michael Coury Murdock) whose wife, Countess Charlotte Malcolm (Taylor Bartolucci) knows of the affair and is desperate to regain her husband’s affections. Such are the tropes of multi-layered unrequited love, catalyst for both hilarity and poignancy in this effervescent production.
…spirited, professional and upbeat performances…
With the exception of Murdock’s full-throated Count Malcolm, whose “In Praise of Women” was wonderfully rendered, the ladies of the cast outshine the men in terms of vocal talent. Molly Belle Hart was perfectly cast as young Fredrika Armfeldt, daughter of Desiree and granddaughter of Madame Armfeldt (Eileen Morris). Hart’s rendition of “The Glamorous Life” was sung with the poise and professionalism of a much older performer. Morris’s solo “Liasons” managed to be both enchanting and amusing, conveying yearning for what had been and a sense of satisfaction in a life well-lived. Brenna Sammon’s “Soon” was plaintive and lovely.
Brenna Sammon as Anne and Samuel Gleason as Henrik.
There were two showstoppers during the opening night performance. The first was “Send in the Clowns,” which held the audience rapt throughout, performed with perfectly understated virtuosity by the stunningly talented Daniela Innocenti-Beem, who also gave the best performance overall throughout the production. Her Desiree offered a master class in theatrical expression and nuance. The second was “The Miller’s Son,” performed with power and a sense of unbridled joy by Kaela Mariano, who played Petra, Anne’s delightfully libidinous maid.
The Quintet Brandy Noveh, Stacy Rutz , Michael Arbitter, Ariana Arbitter, Sean O’Brien.
There were some sound issues during the beginning of the play, with the orchestra overwhelming the vocals as some of the performer’s mics appeared to be working only sporadically. The performers soldiered on professionally, however, and the problems were soon rectified.
Costumes by Donnie Frank were delightful, beautifully depicting the height of elegance in the early 1900s. The set was not such a delight, changing only in terms of props and lighting. Having the same backdrop throughout, despite whether the action was inside or out, with the same paintings hanging on every character’s wall. This seemed a bit too laissez faire.
Overall, Director Sheri Lee Miller elicited spirited, professional and upbeat performances from her talented and well-chosen cast, gifting her audience with an immensely enjoyable evening of entertainment.
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Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. Contact: [email protected]
Production
A Little Night Music
Music/Lyrics by -- Book by
Stephen Sondheim --Hugh Wheeler
Directed by
Sheri Lee Miller
Producing Company
Spreckels Performing Arts
Production Dates
Through Feb 26th, 2023
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
A technological house of horrors is both a comedic trap and an existential crisis for a young married couple in Deborah Yarchun’s “Atlas, the Lonely Gibbon” at Spreckels Performing Arts Center through August 28.
Directed by Sheri Lee Miller, Yarchun’s world premiere script leverages an uncooperative “smart home” and digital-era social isolation as the basis for an acerbic comedy.
Taylor Diffenderfer (l) and Keith Baker (r). Photo by Jeff Thomas
Taylor Diffenderfer shines as Irene, a journalist reduced to doing copy-edit work on stories generated by computer, and one so spooked by and hooked on technology that she frequently dons a virtual reality (VR) headset to escape.
…an amusing and well-done cautionary tale….
All the devices in her fully-integrated home refuse to follow orders that she barks at “Atona,” the unseen interface and controller in her sci-fi residence. The refrigerator coughs and sputters and dances madly. The lights flicker and fade at random. Even the house plants seem to have minds of their own. Both unbidden and in response, the home’s devices talk to her, often with incisive comments. Kevin Biordi and Julianne Bradbury animate and voice the machines.
Irene doesn’t get much help from husband David (Keith Baker), also a journalist who despite the prevalence of every imaginable connectivity at home, has to keep dashing out “to the office.” The revolt of the machines at home launches his system-wide upgrade, a cure that proves worse than the disease. Irene’s also got some sort of fixation on a large mate-seeking gibbon named “Atlas,” enacted by Baker. Bradbury does a nice bit late in the show as the probable mate.
Diffenderfer and Baker at work. Photo by Jeff Thomas
It’s all very funny until, as John Craven described “The House of Yes” at Main Stage West, it’s not funny anymore. The story morphs into a showdown between husband and wife, with quite unfavorable implications for the future of their relationship.
It’s a circumstance that should prove immediately recognizable for anyone overwhelmed by the intrusion of technology into every aspect of daily life. “Atlas, the Lonely Gibbon” is an amusing and well-done cautionary tale about where all of this may lead.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Atlas, the Lonely Gibbon
Written by
Deborah Yarchun
Directed by
Sheri Lee Miller
Producing Company
Spreckels Performing Arts
Production Dates
Through August 28th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
A precocious girl struggles valiantly against ignorant parents and a cruel headmistress in “Matilda – The Musical” at Spreckels Performing Arts Center, through May 22.
One of the most popular children’s stories since the 1988 publication of Roald Dahl’s novel, the stage adaptation “Matilda – The Musical” (written by Dennis Kelly and Tim Minchin) launched to great acclaim in 2010 and enjoyed long runs in London, New York, and throughout the world, garnering many prestigious awards.
In the past five years, the play has been available to regional theater companies eager to produce their own. North Bay theatergoers are lucky in several respects. Against who-knows-how-many competitors, Spreckels landed the rights to put on the show in the most spacious and well-funded physical theater in Sonoma County, also home to a huge talent pool. The show is an absolute spectacular, expertly helmed by Spreckels Artistic Director Sheri Lee Miller.
The cast at work: Rudopho, Wormwoods, & Matilda.
As per Dahl’s original, Matilda is a hyper-bright five-year-old who loves books, reading, science, math, and every variety of imaginative intellectual pursuit. She’s also blessed with telekinesis—she can move objects with her mind—an ability that proves useful late in the story. Her parents Mr. and Mrs. Wormwood (Garet Waterhouse and Shannon Rider, respectfully) are self-righteous dolts with no appreciation for the life of the mind.
Altogether, “Matilda – The Musical” is a fantastic show for adults and kids….
Her parents refuse to acknowledge Matilda’s uniqueness. In fact, they dismiss her special talents as if they somehow bring shame on the family. Mr. Wormwood, a disreputable used-car salesman, is especially proud of his disdain for reading and brags that everything he knows he learned from watching television. Mrs. Wormwood is much more interested in dance lessons with Rudolpho (Damion Matthews) than she is in her husband or daughter. Waterhouse and Rider throw themselves into these repugnantly juicy roles with a delicious degree of abandonment.
Matilda also contends with her school’s mean-as-hell headmistress, Miss Trunchbull (Tim Setzer), whose pervasive dislike of children is often expressed by sending them to “the Chokey”—a small-scale torture chamber—for minor infractions. The versatile Setzer perfectly fits a character described by its creator as “a former world champion hammer thrower” who’s not above throwing misbehaving children across the schoolyard. (Onstage villains who get booed during curtain calls know they’ve done their jobs well.)
But Matilda has adult champions too—local librarian Mrs. Phelps (Gina Alvarado) and teacher Miss Honey (Madison Scarbrough), who makes Matilda’s welfare her personal quest. Alvarado and Scarbrough are both deservedly frequent performers on North Bay stages. Both sing beautifully in group scenes; Scarbrough shines in her solos. Jamin Jollo and Bridget Codoni are tremendous in a running subplot of one of Matilda’s own stories—scenes from “The Escapologist and the Acrobat.”
Matilda and Trunchbull at work.
The cast is huge—almost thirty performers, most of them youngsters—and to list them all would turn a review into something resembling a phone book. Suffice it to say that all are good and some are excellent.
Also excellent are the towering set pieces—huge oversize bookcases as seen from a small child’s perspective. The use of giant letter blocks as props is brilliant—props put to especially effective use in “Revolting Children,” one of the final musical pieces as the closing act winds down. Michella Moerbeek’s choreography is dynamic and delightful, but not too complex for young dancers. Lead by Lucas Sherman, a ten-piece band “in the pit” provides gorgeous accompaniment, but on opening night sometimes dulled singers’ vocal details. We have been told that sound imbalances are being addressed for future performances.
Altogether, “Matilda – The Musical” is a fantastic show for adults and kids, of whom there were a couple hundred in attendance on opening night. Finding a five-year-old who can act, sing, and dance at Broadway level is just about impossible, so the lead has always been multi-cast with adolescents to reduce the strain on them and give them time to study. Spreckels has two young talents alternating as Matilda—Gigi Bruce Low and Anja Kao Nielsen. Low appeared in the May 6 opener and put in a marvelous performance. Theater insiders report that Nielsen is Low’s equal. For ticket buyers, any production should be a worthy one.
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Aisle Seat Review NorCal Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
Matilda - The Musical
Written by
Dennis Kelly – Music and Lyrics by Tim Minchin
Directed by
Sheri Lee Miller
Producing Company
Spreckels Performing Arts
Production Dates
Through May 22, 2022
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Spreckels has something sublimely sweet in store for those in need of a little magic. On a snowy night in the remote outskirts of eastern Maine, nine couples confront questions about love, loss, hope, and healing under the spell of the northern lights. Gracing the intimate Condiotti Studio Theatre stage through April 10th, “Almost, Maine” is equal parts funny and moving, and a heartwarming night at the theater well spent.
John Cariani’s clever script features nine vignettes that play out across eleven short scenes, each brimming with witty wordplay and plentiful humor, a hearty sprinkling of magical – and sometimes absurdly literal – realism, and characters who are endearingly forthright and sincere. Cariani gives viewers a sampling of love stories in various stages of growth and decline, including missed connections, new beginnings, unexpected reunions, and sweet misunderstandings. While most of the endings are happy or hopeful, there are plenty of poignant moments, too, offering audiences a beautifully balanced exploration of human relationships and folly.
Director Anderson Templeton leans into the play’s comic absurdity just enough to earn laughs in all the right places without devaluing the more tender and genuine moments. He gets strong performances from a capable ensemble of six, who together take on the roles of nineteen different characters throughout the show, moving smoothly between parts and pairings. It is a testament to their talent that it’s not a struggle to adjust to the same faces reappearing in each new capacity. Instead, it imbues the show with a sense of intimacy and familiarity that feels becoming of the tiny, would-be town of Almost, Maine.
. . . refreshingly honest, tremendously funny, and full of love and wisdom, with a little bit of magic awaiting those who are willing to find it.”
Serena Elize Flores and Brandon Wilson (Photo by Jeff Thomas)
Serena Elize Flores and Brandon Wilson shine together as distraught Glory and earnest repairman, East, whose chance encounter under the aurora offers hope that a broken heart can possibly be fixed. John Browning and Molly Larsen-Shine are at once hilarious and charming as Lendall and Gayle, a couple on the verge of breaking up when a surprising revelation changes everything. Allie Nordby delivers a haunting performance in a touching scene with Skylar Evans, in which a woman named Hope comes home to find out if the man she once loved still holds out hope for her return. These are only a few of the most memorable scenes, but all are well-executed and highly enjoyable.
Combined with Chris Schloemp’s stunning astral projections, Andrew Patton’s simple, snow-covered set creates a lovely backdrop, and is complemented by Donnie Frank’s humble, cold-weather costumery. Elizabeth Bazzano assists with a whimsical array of props, including big red bags purportedly full of love, an ironing board that doubles as an accidental weapon, and a shoe that drops mysteriously from the ceiling with impeccable timing. Thanks to resident designers Eddy Hansen and Jessica Johnson, lighting and sound work together seamlessly to set the scene, transitioning the small stage from romantic star-lit night to local watering hole with ease.
There isn’t much more I can divulge without risk of ruining some of the delicious surprises that await first-time viewers, but suffice it to say that from start to finish, this production is an absolute delight. This reviewer laughed and cried in equal measure. “Almost, Maine” is the kind of world I want to live in – refreshingly honest, tremendously funny, and full of love and wisdom, with a little bit of magic awaiting those who are willing to find it. If you’ve been waiting to get back to the theater, this show is the perfect opportunity. Don’t let it pass you by.
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Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
Production
Almost, Maine
Written by
John Cariani
Directed by
Anderson Templeton
Producing Company
Spreckels Performing Arts
Production Dates
Through April 10th, 2021
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Those in search of some heartwarming fare this holiday season will find it at Spreckels, where “The Wickhams: Christmas at Pemberley” is scheduled to grace the intimate Condiotti Studio Theatre stage through December 12th. Second in a three-part series, “The Wickhams” is a sequel to Jane Austen’s beloved Pride and Prejudice, though theatergoers need not have seen part one – nor have read the original novel – to understand and enjoy the show. Acclaimed duo Lauren Gunderson and Margot Melcon have penned a delightful and clever continuation to one of the literary world’s most famous love stories, brimming with enough wisdom, wit, and charm to have been written by Austen herself.
…I can’t think of a better way to start the holiday season.
As those who attended may fondly recall, Spreckels staged a memorably top-notch production of part one in the series, “Miss Bennet: Christmas at Pemberley,” in November of 2019. “Miss Bennet” takes place on the ground floor of the Darcys’ estate, where the newlyweds are hosting the entire Bennet clan for Christmas festivities. In part two, however, we venture downstairs to see what’s happening in the servants’ quarters while the family gathering unfolds above. Amid the hustle and bustle of holiday preparations, the late-night arrival of an uninvited guest threatens to throw the household into chaos. Cue the comedic mishaps, delicious drama, and sweet romance in this uplifting tale of family and love, forgiveness and redemption.
Sheila Lichirie delivers a stellar performance as head housekeeper, Mrs. Reynolds, who is equal parts sharp-tongued censure and quick-witted wisdom, with just enough warmth peeking through the cracks in her all-business exterior. Sam Coughlin is equally exceptional as notorious scoundrel George Wickham, whose drunken stumbling and slick overtures to the new maid would be enough to make one’s skin crawl if he weren’t so hilarious and strangely charming. Coughlin has mastered the appropriate body language and facial expressions to really sell his character.
Cohan and Coughlin at work in “The Wickhams”
Though Lichirie and Coughlin are the standouts, their companions are excellent, too. Kimberley Cohan makes a wonderfully lively and sympathetic Lydia Wickham, whose naivety is more endearing than annoying. Dale Leonhart’s Cassie, the ambitious new housemaid, is deliciously sassy, spirited, whip-smart, and self-assured. Silas Vaughn is eager and earnest as love-struck footman Brian, and delivers an enjoyably energetic performance. Allie Nordby – who was phenomenal as eldest Bennet sister, Jane, in the 2019 production – brings an irresistible sweetness and sincerity to her character that makes her impossible not to love, though lacking in some of the headstrong passion and playfulness I secretly crave in an Elizabeth Darcy. Perhaps what’s missing is convincing chemistry with her beau.
Coughlin, Nordby, and Guo work at scene of “The Wickhams” at Spreckle’s Performing Arts Center.
Byron Guo’s Fitzwilliam Darcy is appropriately stately and reserved, but perhaps just a touch too stiff, with his arms often glued to his sides. He does some effective things with his intonation and facial expressions, but his scenes with Nordby feel somewhat forced, and I kept hoping to see him loosen up a bit. Mr. Darcy isn’t supposed to be overly effusive or unrestrained, of course, but part of his charm is the way he softens in Elizabeth’s presence. Guo is more convincing as a charitable host and consummate gentleman than a newlywed man in love, though a few more performances may help him ease into the role. Despite these minor criticisms, it’s clear this is a very talented ensemble, and the show is entirely diverting.
Director Emily Cornelius has paced the production beautifully. Laughs land where they should, there are no lulls in the action, and the sweeter, softer moments don’t feel rushed. The impact is greatly enhanced by Elizabeth Bazzano’s handsome set, tempting us to gather around the kitchen table to help with holiday preparations, or cozy up by the glowing fire. The build quality and attention to detail are impressive, with doors that open to a realistic looking room and hallway, and an abundance of props that make the space feel like a real home. Costume designer Donnie Frank deserves recognition, too, for aptly chosen attire and some seriously stunning pieces. (Where can I find Lydia’s fabulous evening dress and nightgown?)
Whether you’re an Austen fan or just a fan of good theater, be sure to catch “The Wickhams.” With a hearty dose of warmth and wit that’s sure to leave you in a brighter mood, I can’t think of a better way to start the holiday season.
If you’re in need of a good, hearty laugh (and who isn’t, these days?) Spreckels Theatre Company has you covered. Don’t miss their top-notch production of “Noises Off,” running now through October 24th on the big stage in Rohnert Park.
In Michael Frayn’s classic, door-slamming farce within a farce, a traveling theater company descends into utter chaos while attempting to stage a play called “Nothing On.” It’s a pants-dropping, riotous affair replete with perfectly timed entrances and exits, tangled phone cords, plates of sardines that vanish and reappear without explanation, and a seemingly endless series of mishaps and misunderstandings that fuel the frenzy. It becomes quickly apparent, however, that the chaos onstage can’t hold a candle to what’s unfolding among the actors behind the scenes.
This is the kind of show that requires impeccable comedic timing and painstaking coordination, and Spreckels doesn’t disappoint. Veteran director Sheri Lee Miller helms this tightly paced and carefully choreographed production with evident precision; her talented ensemble proves up to the challenge. Those familiar with “Noises Off” will be pleased to find this old favorite has been handled with care. Only the location has been changed, and though it’s a change that feels unnecessary, it in no way detracts from the overall effect.
“Noises Off” at work. Kevin Bordi, Eileen Morris, & Zane Walters.
MacKenzie Cahill is a hoot as ditzy Brooke, lovably oblivious and always losing her contacts, and Zane Walters shines as leading man Garry LeJeune, swinging axes and stumbling down stairs in his jealous rage. John Craven is delightful as Selsdon, the hard-of-hearing actor who’s a little too fond of the bottle and keeps missing his cues. And who couldn’t love Eileen Morris as Dotty Otley, even if she’ll never remember where she left those damned sardines? Kevin Bordi, Matthew Cadigan, Taylor Diffenderfer, Maureen O’Neill, and Brandon Wilson round out the bunch, and there isn’t a weak link among them.
…Those familiar with “Noises Off” will be pleased to find this old favorite has been handled with care…
The stagecraft is excellent, too, thanks to resident designer Eddy Hansen’s elaborate, two-story set piece that rotates to reveal the goings-on backstage. Scenic artist and prop master Elizabeth Bazzano has her hands full with this one. From interchangeable bags and boxes, bottles of booze and bouquets of flowers, and countless sardines, to questionably repurposed sheets and a very prickly cactus, Bazzano has covered all the bases.
“Noises Off” — full cast, set by Eddy Hansen
With three acts and two intermissions – the first of which was slated at 15 minutes but felt much shorter, and the second of which was billed at 5 but stretched on for closer to 15, it’s a long night out at the theater. But the third act is even funnier than the second, and you won’t be looking at your watch. Even the program will give you a chuckle – be sure to flip it over, where you’ll find a second program for “Nothing On,” complete with hilarious cast bios.
“Noises Off” is the perfect remedy for anyone in need of some lighthearted fun or a happy distraction, and this production is an absolute delight. Be sure to catch it while you can.
A mysterious survivor of a deep-space disaster is brought out of stasis more than nine decades later in the prolific David Templeton’s “Galatea,” at Spreckels Performing Arts Center in Rohnert Park through September 19.
Aboard a space station orbiting the earth, two researchers—Dr. Mailer and Dr. Hughes (Sindu Singh and Chris Schloemp, respectively)—delve into the origins of “71” (Abbey Lee) an apparently authentic member of the maintenance crew of the starship Galatea, which suffered an unexplained total destruction. Prior to the discovery of humanoid 71, and fellow crew member 29 (David L. Yen), shards of the wreckage were all that had been found, none of them substantial enough to support a working hypothesis of what might have happened.
Abbey Lee in Spreckels Theatre Company’s “Galatea.”
71’s uniform, stilted robotic speech, and lack of familiarity with basic human social interactions all support her contention that she had been a crew member aboard the Galatea. Psychotherapist Dr. Mailer hopes to reintegrate 71 into society, by coaching her through fundamentals such as greetings, conversations, gestures, and reactions to humor.
…Into the mix steps her colleague Dr. Hughes, a geeky, gregarious researcher with a bottomless collection of corny jokes…
An “EPS” (Energy Processing Synthetic) series humanoid, 71 undertakes the tutorials with a beguiling mix of robotic reluctance and enthusiasm. Versatile, uninhibited, and perfectly in control, Abbey Lee is amazing as the subject slowly transforming under Dr. Mailer’s gentle persistent guidance. Many of 71’s early attempts to mimic human behavior are both laugh-out-loud funny and almost tearfully poignant. The gambit of a humanoid attempting to become more human is clearly derived from the emotionless android character Data of “Star Trek: The Next Generation,” in turn derived from the character of Pinocchio, the wooden marionette who wants to become a real boy, from the 19th-century Italian children’s story.
Sindu Singh, Abbey Lee & David L Yen at work.
Singh is outstanding as the psychotherapist Dr. Mailer—patient, methodical, and loving but pushy when necessary, with a few personal quirks (“Okey dokey, pokey”) that make her utterly charming. Into the mix steps her colleague Dr. Hughes, a geeky, gregarious researcher with a bottomless collection of corny jokes. As always, Chris Schloemp is relaxed, confident, and completely convincing as his character probes for more information about the Galatea. He consults with Dr. Mailer about 71’s progress, in the process sometimes interfering as much as he’s helping.
The denouement launches in the second act with the appearance of 29 (David L.Yen), another recently discovered Galatea veteran and revived EPS unit. Still visibly damaged and uncommunicative, 29 perks up, within his limits, at questioning about 71 and ultimately reveals all—or as much as he can remember and convey—about what went wrong with the ship and how he and 71 survived. Normally a dynamic actor, Yen here displays a previously unseen aspect of his astounding ability, portraying 29 as deeply as possible while retaining the character’s essential uni-dimensionality.
It would be hard to imagine a better cast for this lovely, heartwarming production, one that Templeton described after the opening performance as “turning the usual sci-fi trope on its head”—i.e, no marauding monsters (“Alien,” “Jurassic Park”), nefarious corporate overlords (“Blade Runner”) or armies of rebellious androids (“I, Robot”).
David L Yen and Abbey Lee in Galatea
Beautifully helmed by director Marty Pistone (assisted by Andy Templeton), the show itself emerged September 3 from 18 months of COVID-induced stasis, with Eddy Hansen and Elizabeth Bazzano’s elegant set still intact—you’ve never seen a lovelier Palladian window—since the postponement of “Galatea” in early 2020, a time that now seems long ago. Chris Schloemp’s gorgeous, sometimes ephemeral projections add just the right touch for what is to date the best production to appear in the North Bay as the theater world slowly emerges from the pandemic.
“Galatea” is a rarity—a brilliant script brilliantly executed. Potential ticket buyers couldn’t ask for more.
ASR Nor Cal Edition Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Production
"Galatea"
Written by
David Templeton
Directed by
Marty Pistone, assisted by Andy Templeton
Producing Company
Spreckels Performing Arts
Production Dates
Through September 19. 2021
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
AisleSeat Review and our readers are enjoying a new series of question-and-answer interviews with prominent Bay Area theater people.
Our goal is not to subject you the reader to extended portentous sermons of the guest’s views on Russian translations of lesser-known Mamet flash drama (is there such a thing?)
Too often the people who guide and make theater in the Bay Area are behind the scenes — fast-moving denizens of the curtain lines who mumble into microphones while invariably (always excepting Carl Jordan’s beret collection…) dressed head-to-toe in black. These interviews allow you, the reader, to get to know these amazingly talented people a bit more, as…people.
Offering some personal and professional insights: with a heavy dash of humor, this is Aisle Seat Review’s Not So Random Question Time.
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Sheri Lee Miller
Sheri Lee Miller has enjoyed a lifelong career as a professional stage director, actor and theater administrator, working with some of the leading theaters on the West Coast, including Seattle Rep, A Contemporary Theater, Tacoma Actors Guild, Gaslamp Quarter Theater, and Seattle Children’s Theater. Locally, she has been privileged to direct and act at Cinnabar Theater, Sonoma County Rep, 6th Street Playhouse, Actors Theater, Spreckels Theatre Company, and Main Stage West, where she is a founding member.
She holds a B.A. in Theater Arts from San Diego State University, with a double emphasis on acting and directing.
She has appeared in dozens of television commercials, voice-overs, industrial films and print ads, and is a member of Actors Equity and AFTRA. Sheri is Artistic Director at Spreckels Performing Arts Center in Rohnert Park, a position she’s held since July 2017. The center’s Codding Theater, with more than 500 seats, is Sonoma County’s largest. The center also operates the adjacent Condiotti Theater, a smaller venue. It is not unusual for two productions to be running simultaneously.
Sheri strongly believes that exposure to the arts in general and theater in particular leads to a more thoughtful, balanced and empathetic society. “I truly believe that art and artistry must be nurtured at home, at school and in the community if we as a society are to achieve the highest levels of empathy and humanity.”
ASR: Does your company have a special focus, i.e., genre/historical period, contemporary, experimental, emerging playwrights, etc?
SLM: We are probably most known for our big musicals in the Codding Theater, which are pretty fantastic, I must say. But we also do excellent smaller shows in our Condiotti studio space. We are committed to supporting new works, especially by local playwrights if possible. We are trying to keep one slot open for a new play each season, but we won’t put up just anything because it is new. It has to be a great script. We also have a very strong youth program, the Spreckels Education Program. Those young actors are very committed and it’s a pleasure to watch them develop. They do great work!
ASR: Who has had the largest impact on your professional development in the theater?
SLM: Probably my instructor at Santa Rosa JC, Joan Lee LaSalle (Woehler). She was my friend and mentor. Powerful, kind and brilliant. I think of her often and hope she is proud.
ASR: It will likely be several months until theaters reopen. How is your company coping with the shutdown?
SLM: We are working on an enormous restructuring of our various storage areas and a box office remodel. We are moving tens of thousands of costume items and will photograph and catalog them for ease of use and rental. We’ve also finished our props storage rooms. Sadly, our wonderful part-timers are currently laid off. So this is a lot of work for only three of us—Eddy Hansen, Gail Shelton and myself—to accomplish. And we are having a ball with it! I love this kind of work. Sooooo satisfying. And it’s great to be doing something physical.
…One night, I managed to enter at the wrong time and effectively cut an entire scene…
ASR: How has the crisis affected your planning for coming seasons?
SLM: Well, it’s pretty impossible to plan. We do know we intend to go ahead with Matilda and Galatea in the coming season, as they were cancelled this year. Galatea was only a week from opening, and as for Matilda…those actors had been cast many months ago. And we already have the set, costumes, props ,etc. for it. We will also be doing Once Upon a Mattress, Jr. for the Education Program. We are not certain when those shows will actually go up.
ASR: How do you envision the future for your company? For the theater community overall?
SLM: Theater has been around for thousands of years. There is a reason for that. People crave community and storytelling. Experiencing a story, through a live performance, with other audience members, satisfies something very primal in our souls. I think it will come back strong, but may need to ramp up gradually as we make our way through this crisis. As long as there is a space, a performer, and someone to observe the performance…theater is happening and it is alive and well.
ASR: What are some of your favorite dramas? Musicals? Comedies?
SLM: This is a terribly difficult question! Hamlet, of course. And King Lear.Arcadia. Angels in America. The two greatest comedies in my mind are Noises Off and You Can’t Take it With You. Musicals? I love them all.
ASR: What is Shakespeare’s most underrated play? Why?
SLM: Gee, aren’t they all pretty highly rated? I have only read Coriolanus, never seen it. But at first read, it read to me as a dark comedy. I’d love to see a production. It seems especially appropriate right now. I would like to produce it, but I suspect the audiences would be slim.
ASR: Shakespeare’s most over-performed play?
SLM:A Midsummer Night’s Dream. But I do love it, and will probably produce it at some point.
ASR: If you had to do a whole season performing technical work—sets, lights, projections, sound, props, costumes—which would it be and why?
SLM: Oh, I really love doing tech! I think I would choose props. Very crafty, little sewing (I’ve sewn enough for a lifetime), and doesn’t require a lot of space. Yeah…props are fun.
ASR: If someone asked to be your apprentice and learn all that you know, what three things would you tell them are essential?
SLM: 1: Push through fear. Let it energize you rather than block you. And let your inner mantra be: “The universe loves artists.” 2: Learn to listen, both onstage and off, in your theater work and your “civilian” life. Quiet and focused observation and active listening help develop an understanding of the people and world around us and is imperative to the work we do. 3: Respect and understand every artist’s contribution to the work. If you truly respect everyone, you will be on time, arrive ready to work, care for your costumes, set and props, know your lines solidly, let others speak, work with your director and care about the playwright’s intentions.
ASR: The most excruciating screw-up you’ve seen onstage?
SLM: Well, my most excruciating screw-up was during Eat the Runt at Actors Theater. It was a very difficult play where we all learned all the parts and each night the audience would cast us. So you never knew which role you were going to play when you entered the theater that night. One night, I managed to enter at the wrong time and effectively cut an entire scene. I didn’t even realize it until I got off stage and Joe Winkler pointed out what I had done, thus cutting his role in half. I had never messed up an entrance before or since, and I still feel terrible about it. Sorry again, Joe!
ASR: What’s the weirdest thing you’ve seen a guest do at the theater?
SLM: When I was 25 and performing Madge in Picnic in Seattle, when it was time for Madge and Hal to run off to the “do it” bushes, a young woman stood up and yelled, “Go for it!”
ASR: You discover a beautiful island on which you may build your own society. You make the rules. What are the first three rules you’d put into place?
SLM: 1: The planet is our source of life and must be regarded as the Supreme Ruler. 2: We are all equal and deserve equal opportunity, protection and sustenance. 3: Be nice.
ASR: You have the opportunity to create a 30-minute TV series. What’s it called and what’s the premise?
SLM:The Real Housewives of Sonoma County. Everyone just smokes pot while discussing wine, trendy food and their kids.
ASR: What would be the coolest animal to scale up to the size of a horse?
SLM: A potato bug.
ASR: Favorite quote from a movie or stage play?
SLM: “What’s done cannot be undone.” Lady Macbeth.
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ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Paying to pee is a way of life for the poor and downtrodden in the fictional neighborhood of Urinetown. Managed with mendacity by water-and-waste management firm Urine Good Company, “amenities” dot the urban landscape, with admission fees so high that residents scramble all day to get enough money to relieve themselves—a high-pressure situation that foments rebellion if not resolution.
At Spreckels Performing Arts Center through March 1, “Urinetown, the Musical” celebrates many of the conceits of traditional musical theater while skewering others. The familiar plot elements—oppressive overlords, rebellious poor, star-crossed lovers from opposite sides of the conflict, a desperate kidnapping—have all been exploited by playwrights for centuries.
What makes this darkly-themed show unusual is its coupling of these reliable plot elements with upbeat Broadway song-and-dance productions, and its self-conscious stance as a piece of “metatheater” that announces itself and its intentions directly to the audience through UGC’s chief enforcer Officer Lockstock (David L. Yen), whose main connection to the Urinetown residents is through the likable character of Little Sally (Denise Elia-Yen).
“Urinetown, the Musical” is tremendous production…
Theater fans of long experience will note similarities in theme, plot, characters and music with many other productions. “Urinetown” is in solid traditional territory there.
Tim Setzer shines as UGC’s evil chief executive Caldwell B. Cladwell, the “toilet tycoon,” as described by ASR critic Nicole Singley. His toady-laden office includes Senator Fipp (Michael Arbitter), a legislator doing his patriotic best to win congressional approval for a system-wide increase in toilet admission fees. Recently graduated from the world’s most expensive university, Cladwell’s beautiful daughter Hope (Julianne Thompson Bretan) is about to join her father’s management team but is taken hostage by restroom-deprived rebels. In the process, she develops sympathy for their cause—mirroring the real-world fate of newspaper heiress Patricia Hearst in a 1974 kidnapping staged by would-be revolutionaries—and falls in love with their charismatic leader Bobby Strong (Joshua Bailey).
“Urinetown” cast shows class dance moves
The stark set by Eddy Hansen and Eliabeth Bazzano is the perfect venue for this musical misadventure, enhanced by projections from Chris Schloemp.
Lucas Sherman’s small orchestra is dazzling. Performances range from good to superb, with especially good efforts by Bailey and Bretan, Yen, Setzer, and Karen Pinomaki as Josephine Strong, Bobby’s devoted mother. ScharyPearl Fugitt is a standout as Urinetown rebel Soupy Sue, and as Cladwell’s secretary. Her dancing is especially enjoyable. A large and exemplary cast fills out the remaining roles.
“Urinetown” has an impressive cast!
“Urinetown, the Musical” is tremendous production—not perfect, but huge fun with a depressing message at its core: sugar-coated theatrical medicine. Yes, resources are shrinking and the population is growing. It’s not a pleasant prospect, but we can all delight in the irony as we head for the abyss.
ASR Executive Editor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle. Contact: [email protected].
Production
Urinetown, the Musical
Written by
Mark Holman and Greg Kotis
Directed by
Jay Manley
Producing Company
Spreckels Performing Arts
Production Dates
Through March 1st
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Better late than never, the old adage has it. Here (in no particular order) are some memorable productions from last season, a year full of four- and five-star achievements.
The Jungle (Curran Theatre): San Francisco’s renovated Curran Theatre was re-renovated for an immersive recreation of a 2016 crisis in a refugee camp in Calais, France. A huge and hugely talented multi-ethnic cast made this show last season’s most profound and moving theatrical experience. (BW)
After Miss Julie (Main Stage West): Ilana Niernberger and Sam Coughlin paired up for a thrilling pas de deux in Patrick Marber’s evocative spin on “Miss Julie,” transplanting Strindberg’s classic story to a summer night in 1945. A stunning set, great lighting, and white-hot performances brought class and erotic tensions to a boil, culminating in a seriously steamy tango scene that won’t be soon forgotten. (NS)
Rocky Horror Show (Marin Musical Theatre Company): MMTC took this Halloween favorite far over the top at the San Anselmo Playhouse, thanks to stunning efforts by Jake Gale, Nelson Brown, Dani Innocenti-Beem, Pearl Fugit and many others. (BW)
Barbecue Apocalypse (Spreckels): The laughs were served well-done in this quirky comedy, thanks to a witty script marinated in millennial-centric humor and a talented ensemble. Clever costumes, strong technical work, and excellent casting proved that all it takes to survive the end of days is a little raccoon meat and some serious comic relief. (NS)
Romeo and Juliet (Throckmorton): Mill Valley’s Throckmorton Theatre and the streets around it became Verona, Italy, in a sweetly evocative, imaginative, and fully immersive production of Shakespeare’s timeless tragedy. (BW)
Sex with Strangers (Left Edge Theatre): Left Edge Theatre turned up the heat in “Sex with Strangers,” a seductive modern romance that broaches big questions about love, ambition, and the price of success in the digital era. Dean Linnard and Sandra Ish brought the story’s unlikely couple to life with electric chemistry and powerful, nuanced performances. (NS)
Incidents in the Wicked Life of Moll Flanders(Ross Valley Players): RVP gambled and won with Jennifer LeBlanc’s adaptation of Daniel Defoe’s 1722 novel. Amber Collins Crane stole the show as the lead in a compelling tale about a beautiful, quick-witted woman who rose from miserable circumstances to respectability through petty crime, stealth, charm, and unusually good luck. (BW)
Drumming with Anubis (Left Edge Theatre): Left Edge Theatre invited us along to the Neo-Heathen Male Bonding and Drumming Society’s annual campout, where a group of aging death metal fans communes in the desert to beat their bongos. Things got a little dark, a lot hilarious, and surprisingly touching when the Egyptian god of death crashed the party. Local playwright David Templeton’s brilliant new show earned a 5-star reception, featuring a phenomenal cast and beautiful scenic design. (NS)
How I Learned What I Learned (Marin Theatre Company):Director Margo Hall coaxed a tremendous performance from Steven Anthony Jones, who brought grandfatherly wit and wisdom to the role of playwright August Wilson. A master class in story-telling. (BW)
Faceless (6th Street Playhouse): Former artistic director Craig A. Miller returned to helm this riveting courtroom drama about an American teenager caught running away to join her internet boyfriend in ISIS. Razor-sharp dialogue and powerhouse performances made for an intense and memorable experience in 6th Street’s intimate studio theater. (NS)
The Year of Magical Thinking (Aurora Theatre Company): Stacy Ross glowed in a masterly solo recital of Joan Didion’s play from her book of the same name. (BW)
Home (Berkeley Repertory Theatre): In this stunning piece of performance art by Geoff Sobelle, audiences watched a two-story house materialize from the shadows of an empty stage as if by magic. A spectacle of epic proportions, this visual feast reminded theatergoers that a house is just a space in which we come together to make a home. (NS)
Fully Committed (6th Street Playhouse): Patrick Varner channeled 40-some characters in his hilarious one-man depiction of a scheduling manager at his wits’ end in a high-end NYC restaurant, at Santa Rosa’s 6th Street Playhouse. (BW)
Merman’s Apprentice (Sonoma Arts Live): Daniela Innocenti-Beem brought Broadway legend Ethel Merman back to the stage with a larger-than-life performance in this sparkling world premiere, brimming with catchy tunes and colorful humor. Innocenti-Beem and teenaged costar Emma Sutherland boast some serious pipes, which made this charming new musical all the more fun. (NS)
Mother of the Maid (Marin Theatre Company): A mother’s love and devotion were never so well depicted as in this lovely, heart-rending piece about Joan of Arc’s mother Isabelle (Sherman Fracher). (BW)
Eureka Day (Spreckels): Laughter proved contagious in Jonathan Spector’s whip-smart “Eureka Day,” pitting parents at a Berkeley charter school against each other in the wake of a mumps outbreak. An all-star cast, elaborate set design, and top-notch technical work combined to make this a 5-star production. (NS)
Cabaret (San Francisco Playhouse and Napa’s Lucky Penny Productions): Both of these productions were excellent and amazing versions of this dazzling but starkly disturbing cautionary tale. (BW)
Miss Bennet: Christmas at Pemberley (Spreckels): Theatergoers were dazzled by this cleverly written and superbly acted continuation of Jane Austen’s beloved Pride and Prejudice, containing everything an Austenesque story should: delicious drama, a heartwarming romance, and an abundance of humor and wit. Pitch-perfect direction and exemplary casting made “Miss Bennet” the ultimate holiday treat. (NS)
Harry Potter and the Cursed Child (Curran Theatre):Nonstop high-intensity theatrical magic is the only way to describe this extravagant production, running into next July. (BW)
A Gentleman’s Guide to Love and Murder (Spreckels): Hilarity ensued in this madcap musical about a man clawing his way to the top of the family tree. Tim Setzer stole the show as all nine members of the D’Ysquith family, all of whom meet their ends in some of the most creative and comical ways imaginable. Excellent ensemble work, cute choreography, and clever projections made this one killer production. (NS)
Barry Willis is the Executive Editor at Aisle Seat Review, a member of the American Theatre Critics Association, and president of the San Francisco Bay Area Theatre Critics Circle. Contact: [email protected]
Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
Niernberger and Cadigan (Photo Credit: Jeff Thomas)
Austen lovers will rejoice at this dazzling continuation of beloved classic Pride and Prejudice, picking up two years after the novel leaves off and making its Sonoma County premiere at Spreckels through December 15th. Penned with finesse by Lauren Gunderson and Margot Melcon, “Miss Bennet: Christmas at Pemberley” rings true to the canonical author’s style and characters, full of everything an Austenesque story should be – strong, outspoken women who aren’t afraid to challenge the status quo, an abundant wealth of razor-sharp wit, and a heartwarming love story for the ages.
L-R: Pugh, Park, Nordby, and Niernberger (Photo Credit: Jeff Thomas)
The show opens on an elegant drawing room in Mr. Darcy’s sprawling estate, in which he (Matt Cadigan) and Elizabeth (Ilana Niernberger) are preparing for her family to descend for the holidays. Thanks to Niernberger’s spirited demeanor and playful charm, matched with Cadigan’s stately ease, the Darcys are credibly reincarnated as though no time has passed at all. If anything, it’s clear two years of marriage have only served to strengthen and solidify their affection. The two are soon joined by Elizabeth’s eldest sister, Jane (Allie Nordby), and Mr. Bingley (Evan Held), who are expecting their first child and seem happier than ever.
All of this would be enough to make any Pride and Prejudice fan ecstatic, but Gunderson and Melcon have another treat in store. This is Mary Bennet’s turn in the spotlight, after all – the dry-humored, pedantic, and oft-overlooked middle sister, presumed doomed to a life of spinsterhood by her preference for books and pianoforte over the company of other people. Mary (Karina Pugh) has grown since we last saw her, and so too her fear that she may never leave her parents’ home. Must she sit forever on the sidelines, watching each of her sisters find the kind of love she’ll never know? Or could this Christmas bring an unexpected gift?
Pugh makes a brilliant first appearance at Spreckels with her captivating frankness and candor, earning laughs with her deadpan quips and well-timed delivery. Her scenes at the piano are equally hilarious, requiring no words to convey what her character is feeling. (She gets some help behind the scenes from pianist Nancy Hayashibara.)
Diffenderfer and Park (Photo Credit: Jeff Thomas)
Also excellent are Ella Park as Lydia Wickham, bubbling over with flirtatious energy as she cavorts about the stage, attempting shamelessly to conceal the unhappiness of her marriage, and Taylor Diffenderfer as the spine-chilling, frigid Anne de Bourgh, channeling her deceased mother’s pretentious disdain and willful intimidation tactics. Her very entrance is like a dark cloud rolling over the stage. She’s transfixing. Even though they act in small part as the story’s villains, they too are given room to grow and hope for a happier ending. Because, after all – as “Miss Bennet” suggests – don’t we all deserve a chance at love?
. . . a completely engrossing and highly enjoyable night at the theater.”
Walters and Pugh (Photo Credit: Jeff Thomas)
The playwrights have succeeded in crafting characters who are believable extensions of their predecessors, allowing their stories to develop in a way that feels natural and at home with Austen’s legacy. The addition of Darcy’s socially-awkward cousin, Arthur de Bourgh (Zane Walters), is a welcome surprise. He fits right in as the perfect complement to Mary’s hyper-studious and antisocial tendencies. Walters is simply outstanding – his Arthur is genuine and endearing, and despite his clumsy stumbling, a character you’ll want to root for.
Elizabeth Bazzano’s set is tasteful and inviting, begging us to cozy up beside the fireplace, help decorate a much-discussed spruce tree, or gaze out the beautiful window at snow falling on a frosted landscape. Pamela Johnson has chosen costumes that feel in keeping with the characters’ personalities. (A minor wardrobe malfunction was noticeable but easily forgotten amid the fun.)
Director Sheri Lee Miller helms this tightly-paced production with an evident flair for comedic timing. The unceasingly clever dialogue is well served by all members of this first-rate ensemble, and adeptly paired with physical comedy and priceless facial expressions throughout. Rarely has a show made me laugh so often and wholeheartedly.
While previous knowledge of Pride and Prejudice will greatly enhance your enjoyment of the show, it’s completely unnecessary. Even those new to Austen will find much to love in this easy-to-navigate and utterly uplifting story. Stellar writing, effective direction, and an exceptional cast combine to make “Miss Bennet” a completely engrossing and highly enjoyable night at the theater. Sincerely sweet and unforgettably good, it’s a true delight from start to finish, and over in a flash. You may even wish to catch it twice before it’s gone.
Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
Production
Miss Bennet: Christmas at Pemberley
Written by
Lauren Gunderson and Margot Melcon
Directed by
Sheri Lee Miller
Producing Company
Spreckels Performing Arts
Production Dates
Through December 15th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Michael Ross directs this hilarious and campy musical at Spreckels Performing Arts Center’s Codding Theatre. The plot is immediately intriguing: impoverished Monty (well-cast in Andrew Smith) discovers he has an aristocratic birthright, making him ninth in line to inherit both title and fortune.
How did that happen? Turns out Monty’s noble-born mum had been rudely disinherited, and kept mum about it. His lady-friend Sibella (Madison Genovese) ignores poor Monty as she prefers a more financially secure suitor. Can Monty move up the inheritance list quickly enough to win her hand? Can he bump eight dismissive and nasty relatives off the queue?
“A Gentleman’s Guide” is morbidly delightful fun that’ll just kill you with laughter…
And what relatives they are! Tim Setzer, a talented veteran actor, clearly has a ball playing every one of the noble-born inheritors…including a female. It’s worth the price of admission just to watch him change personalities and voices as he doffs another costume.
“A Gentleman’s Guide” won four Tonys when it hit Broadway in 2014, including Best Musical. Gilbert and Sullivan might have been proud of the operetta-style music and lyrics by Steven Lutvak (with additional book and lyrics by Robert L. Freeman.) Several songs have a patter-singing character to cleverly move the plot along.
Act II has a particularly engaging number “I’ve Decided to Marry You.” While Monty hides his lover Sabella behind one door, his marriage-manic cousin Phoebe (lovely soprano Maeve Smith) embraces him behind the other. The trio has the comic chops and strong vocals which brought a cheer from the audience.
In further homage to G&S, “A Gentleman’s Guide” has several surprises and an amusing twist at the end. The musical is appropriate for all ages, despite the rather macabre story line. No blood, thank you, except for the blue kind.
The set is a stage on the stage, opulently designed by Elizabeth Bazzano and Eddy Hansen. Codding Theatre takes it a step further, maximizing their rear-projection screen to depict scene changes. Ice skaters cruise back and forth. Bees swarm. Tourists take tours of the mansion. Underneath it all is the 12-piece orchestra conducted by Jim Coleman.
“A Gentleman’s Guide” is morbidly delightful fun that’ll just kill you with laughter.
ASR Editor Cari Lynn Pace is a member of SFBATCC and writes theatre and lifestyle reviews for the Marinscope Community Newspapers throughout Marin County.
Production
Urinetown, the Musical
Written by
Mark Holman and Greg Kotis
Directed by
Jay Manley
Producing Company
Spreckels Performing Arts
Production Dates
Through March 1st
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
The Cast of “Eureka Day” (Photo Credit: Jeff Thomas)
When an outbreak of the mumps sends shockwaves through an avant-garde Berkeley charter school, parents with opposing views on vaccination struggle to uphold the school’s core principles of inclusion and government by consensus. The stakes are high and the tensions higher in this first-rate production of Jonathan Spector’s whip-smart “Eureka Day,” an award-winning comedy that first took audiences by storm last year at Berkeley’s own Aurora Theatre Company.
Eureka Day is exactly the kind of ultra-progressive school one would expect to find in Berkeley. Diversity is celebrated, alternative lifestyles and gender-neutral pronouns are embraced, and board meetings conclude with an inspirational reading set to the chime of Tibetan tingsha cymbals. It’s so Berkeley, in fact, that we open on the school’s Executive Committee deliberating whether “transracial adoptee” should be added to the list of ethnic identities on student registration forms. With unanimity required to pass any resolution, this proves only the first of many drawn-out discussions.
Rendered impotent by their quest for consensus, the group’s leaders are paralyzed by political correctness, so worried about saying the wrong thing they often struggle to say anything at all. It’s at once hysterical and exasperating to watch these perfectly-crafted, superbly-acted, and all-too-recognizable modern archetypes turn every molehill on the meeting agenda into a long-winded tightrope walk between mountains. It would play like a brilliant piece of satire if it weren’t so true to life. In either case, it’s wildly funny.
L-R: Yamamoto, Sinckler, Coté, and McKereghan (Photo Credit: Jeff Thomas)
And then the bombshell drops. A case of the mumps has been confirmed, and perhaps unsurprisingly at a school of this sort, a large percentage of the students are unvaccinated. A quarantine is issued and school policies are called into question. When the committee hosts what begins as a cordial “Community Activated Conversation” with school parents via Facebook Live, it’s only a matter of time until the adults begin to act like children, the forum rapidly devolving into utter mayhem as a storm of angry rants, barbed remarks and uproarious emojis are projected on the set’s back wall above the huddled actors.
. . . a top-notch production of a masterfully written piece of theater, as timely and thought-provoking as it is hilarious . . .”
Though vaccination serves as the catalyst here, larger questions loom about how we move forward when agreement becomes impossible, how we manage to separate fact and fiction in our modern world, whether all perspectives are equally valid or deserving of respect, and where the limits of social responsibility exist when weighing community impact against individual risk and personal beliefs. While Spector’s own stance is fairly conspicuous, his script does justice to conflicting viewpoints. There are good intentions, after all, on both sides of the fence – and playground bullies, for that matter, too.
Jeff Coté as Don (Photo Credit: Jeff Thomas)
Jeff Coté is excellent as hyper-considerate headmaster Don with his noncommittal list making and new-agey Rumi quotations. Equally superb is Sarah McKereghan as longtime board member and grown-up flower child Suzanne, who proclaims to prize inclusion and respect for all perspectives – until she finds her own perspective challenged. So convinced of her own thoughtfulness and moral superiority, Suzanne fails to recognize the hypocrisy of her assumptions and offensive remarks. McKereghan brings nuance and depth to a challenging role, harnessing the frantic energy of a well-meaning mother in denial.
Val Sinckler as Carina (Photo Credit: Jeff Thomas)
The group is rounded out by wavering mother Meiko (Eiko Yamamoto), stay-at-home father and original Google employee Eli (Rick Eldredge), who holds progressive views on marital monogamy and catches up on his yoga practice during meetings, and newcomer Carina (Val Sinckler), a sharp-witted black lesbian and the mother of a boy with special needs, who we quickly glean has been invited to join the committee in the interest of promoting diversity. All are outstanding in complex roles, though Sinckler shines brightest as the anchor and voice of enduring reason. The interactions between Sinckler and McKereghan are especially compelling, bringing humanity to both sides of a contentious and deeply divisive debate.
Hats off to director Elizabeth Craven for thoughtful staging and pitch-perfect pacing, allowing tension to build and all the laughs to land while leaving space for somber moments and heavier dialogue. Elizabeth Bazzano and Eddy Hansen have designed a beautiful and believable set complete with shelves full of library books, child-sized tables and chairs, and posters that resonate with the school’s core values. Well-paired songs elicit laughter between scenes thanks to Jessica Johnson’s clever sound design.
It’s a top-notch production of a masterfully written piece of theater, as timely and thought-provoking as it is hilarious, with a side-splitting first act that builds into a frenzy and then unfolds into an unexpectedly moving and empathetic second chapter. Guaranteed to keep your wheels turning long after the actors make their exit, “Eureka Day” will leave you questioning whether consensus is worthwhile or even possible in the digital age of relentless misinformation and incompatible opinions. Be sure to catch it (the show, that is) at Spreckels Performing Arts Center through September 22nd.
ASR reviewer Nicole Singley is a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
Production
Eureka Day
Written by
Jonathan Spector
Directed by
Elizabeth Craven
Producing Company
Spreckels Performing Arts
Production Dates
Through September 22nd
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
An ancient fairy tale gets a modern reworking in Rodgers and Hammerstein’s “Cinderella” at Spreckels Performing Arts Center in Rohnert Park, through May 26. Classicists will be relieved to learn that the story’s essential elements are still intact: a poor abused girl who dreams of a better life, her domineering stepmother and two nasty stepsisters, a magical fairy godmother, a smitten prince, and the promise of miraculous transformations.
Cinderella’s hope of exchanging her rags for the gowns of a princess is an expression of a persistent human dream, very much like the popular urge to buy lottery tickets week after week despite astronomical odds against winning.
In Cinderella’s case, she actually succeeds—she finds Mr. Right, he finds her, and after much travail they live happily ever after. It’s a timeless story—the basis of almost every piece of “chick lit” ever written. The plain yellow pumpkin still becomes a golden carriage, but Douglas Carter Beane’s version adds a new character and subplot in an attempt to make the story more contemporary: a radical firebrand named Jean-Michel (Michael Coury Murdock), who seeks social justice and economic opportunity for everyone. Instead of having his head lopped off instantly, as would happen in most real threats to ruling class hegemony, he succeeds not only in winning the hand of a mean stepsister (converting her to a decent person in the process) but in getting the prince to agree to sweeping changes to his kingdom. Cinderella wins the man and life of her dreams and her entire society gets to go along for the ride. Participation trophies for all!
Cinderella ensemble (Photo Credit: Jeff Thomas)
Director Sheri Lee Miller’s huge cast does a great job conveying the story—one with a 7:00 p.m. evening curtain time in anticipation that hordes of kids will fill the large theater. Brittany Law is marvelous as “Ella” the household maid renamed “Cinderella” by Madame (Daniela Innocenti-Beem) for the dirty work she tirelessly performs. Shawna Eiermann and ScharyPearl Fugitt are excellent as stepsisters Gabrielle and Charlotte, respectively, bringing more nuance to their characters than expected or required. Innocenti-Beem’s Madame takes delight in tormenting poor Cinderella, but has moments of surprising gentility and humor. Musical theater veteran Innocenti-Beem is likely the best singer in the cast but her role limits her to only a few lines of music. Her physical comedy and sense of timing are impeccable.
. . . excellent . . . superb family fare . . .”
Zachary Hasbany is superb as “Prince Topher”—the character’s name another nod to contemporaneity—with a good singing voice and fine sense of movement. The prince—a big guy himself—swings a giant sword in slaying a giant dragon (offstage) but the horse he rides is comically undersized. It’s one of few glitches in the otherwise excellent production. The worst is the huge suspension of disbelief required of the audience when Cinderella goes barefaced to the masked ball where the prince falls for her. Later when scouring the realm for her, he can’t recognize her until her foot fits the shoe she didn’t lose but intentionally gave to him. These twists on the original story aren’t improvements.
Larry Williams is gleefully evil as the conniving Sebastian, the prince’s minister, a sort of fairytale Rasputin, and Sean O’Brien matches him as Lord Pinkleton, another royal court sycophant. A gifted singer, O’Brien has a couple of breakout moments in the show’s many musical numbers. A high point is “Impossible” late in the first act, in which the ragged Marie (Mary Gannon Graham) is transformed into a fairy godmother who in turn transforms mice into liveried footmen, a pumpkin into a carriage, and Cinderella into a potential princess. Graham beautifully channels Billie Burke (Glinda the Good from “The Wizard of Oz”) in this bit, a duet of “Impossible” with Law, and the transformation is one of the show’s great illusions. Many times nominated for critical awards, choreographer Michella Snider is at her best. Group and individual dances and movements are delightful and take full advantage of the theater’s big stage and clear sight lines.
Set design by Elizabeth Bazzano and Eddy Hansen is gorgeous and facile, enabling quick set changes that keep the show moving briskly. Chris Schloemp’s huge colorful projections are stunning. Pamela Johnson’s and Chelsa Lindam’s costumes are gorgeous. Music director Paul Smith’s orchestra—in the pit, stage front—sounds tremendous. What’s not to like? All things considered, this “Cinderella” is excellent. Appropriate for all audiences, of course, it’s superb family fare that won’t require parents to do a lot of explaining when they get home—except for the fact that the “golden carriage” isn’t yellow. For that, you can simply say “It’s white gold.”
ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle.
Production
Cinderella
Written by
Book and Lyrics by Oscar Hammerstein
Music by Richard Rodgers
Additional material by Douglas Carter Beane
Directed by
Sheri Lee Miller; Music Directed by Paul Smith
Producing Company
Spreckels Performing Arts
Production Dates
Through May 26th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Headington and Coughlin (Photo Credit: Jeff Thomas)
Do you have what it takes to survive the end of days? Three couples put their skills to the test in Matt Lyle’s tremendously funny “Barbecue Apocalypse,” playing at Rohnert Park’s Spreckels Performing Arts Center through April 20th.
Thirty-somethings Deb (Jessica Headington) and husband Mike (Sam Coughlin) are frantically preparing to host their closest frenemies for a backyard cookout. Bemoaning their half-mowed lawn, mismatched patio furniture and dorm room-esque house decor, Deb fears they can’t possibly impress well-to-do “yupsters” Lulu (Lyndsey Sivalingam) and husband Ash (Trevor Hoffmann), or sleazy penthouse-dwelling Win (J.T. Harper) and his younger girlfriend Glory (Katie Kelley). Mike’s crowning achievement, after all, is the humble deck they’re standing on, and neither he nor Deb can keep a simple garden plant alive.
Clockwise, left to right: Headington, Coughlin, Harper, Sivalingam, Hoffmann (Photo Credit: Jeff Thomas)
When a calamitous event interrupts their awkward party, the group must find their niche in a post-apocalyptic world where once-considered strengths may now be vulnerabilities, and talents formerly perceived as useless could be advantageous. This brave new world offers Mike and Deb a chance to shine, while alpha-male Win shrivels from over-confident womanizer into sobbing, bathrobe-clad mess. Dynamics shift but the grill goes on, until an uninvited guest (Matt T. Witthaus) threatens to end the festivities once and for all.
Don’t miss this witty, laugh-a-minute romp…”
Headington is a riot as neurotic housewife turned spear-wielding survivalist. She makes the jarring transition with remarkable ease, hauling in act two’s blood-spattered dinner – “raccoon, the other red meat!” – with an air of self-possession entirely in contrast to her anxious, pre-apocalyptic stumbling over cocktail umbrellas and fashion accessories. It’s equally satisfying to watch Coughlin’s understated Mike transform from insecure would-be writer to confident grill-master and gardener extraordinaire.
Sivalingam is superb as lovably pretentious Lulu, whose flippant remarks flow faster than the mango margaritas she’s a little too fond of. Hoffmann’s Ash is the painfully familiar portrait of a modern-day screen junkie, forced to settle for library books in a now Google-less world. The apocalypse, as luck would have it, is a boon to their marriage, bringing Lulu back down to earth and pulling Ash away from YouTube. It’s fun to watch their newfound spark ignite.
Clockwise, left to right: Headington, Kelley, Harper, Sivalingam (Photo Credit: Jeff Thomas)
Harper’s Win feels a bit overdone, dripping in stereotypical frat-boy machismo. It’s a hat that doesn’t quite fit, although it serves its comedic purpose all the same. Kelley is endearing in the role of a perky wannabe Rockette, even though she spends much of her time onstage aggressively swapping spit with Harper. Witthaus delivers a truly chilling cameo appearance.
An able cast excels under Larry Williams’s direction, assisted by Marcy Frank’s pitch-perfect costumes and Elizabeth Bazzano’s thoughtful backyard set. Jessica Johnson brings finicky lawn mowers, angry raccoons and propane grills to life with well-timed sound effects.
Marinated in millennial-centric humor, “Barbecue Apocalypse” makes lighthearted fun out of some fairly dark subject matter. Don’t miss this witty, laugh-a-minute romp – or you just might live long enough to regret it.
ASR reviewer Nicole Singley is a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
Production
Barbecue Apocalypse
Written by
Matt Lyle
Directed by
Larry Williams
Producing Company
Spreckels Performing Arts
Production Dates
Through April 20th
Production Address
Spreckels Performing Arts Center
5409 Snyder Lane
Rohnert Park, CA 94928
Charles Addams’s “altogether spooky” Addams Family has been deeply ingrained in American culture since the debut of the 1960s television sitcom—so deeply ingrained and so successful that it spawned an imitator TV series (“The Munsters”), at least two movies, and at least one musical. A tremendous version of this last venture runs through October 28 at Spreckels Performing Arts Center in Rohnert Park.
In the musical, the family—Gomez, Morticia, Uncle Fester, Grandma, Pugsley, and their butler Lurch—are all as we recall them, but daughter Wednesday (Emma LeFever) has become a cranky self-directed teenager. Worse, she has fallen for a straight, normal boy, much to the dismay and disapproval of her family. This classic setup-with-a-twist is rife with conflict, exploited to the max in every scene, song, and dance.
“Addams Family, a New Musical” is a dazzling bit of theater.
Director Carl Jordan gets wonderful performances from the large cast, especially from Peter T. Downey as irrepressible patriarch Gomez, and from Serena Elize Flores as his slinky seductive wife Mortica. The frenetic Erik Weiss is his over-the-top best as Uncle Fester, also serving as the show’s narrator.
Serena Flores and Peter Downey as Mortica and Gomez – Photo by Jeff Thomas
Mario Herrera is a total surprise as Pugsley, Wednesday’s withdrawn younger brother. Herrera stuns when he steps out of the shadows for his big solo song. Cooper Bennet gives a very natural and sympathetic interpretation of the character of Lucas Beineke, Wednesday’s boyfriend. Larry Williams and Morgan Harrington are equally good as his parents Mal and Alice, with a couple of breakout moments of musical comedy.
Emma LeFever at work as Wednesday – Photo by Jeff Thomas
Elizabeth Bazzano’s and Eddy Hansen’s gorgeously ornate set occupies the entirety of the big stage, matched in its aspirations by Pamela J. Johnson’s costumes and Michella Snider’s choreography. In the cast are also a dozen or so “ancestors” (as they are called in the program)—a chorus of extras who embody spirits and other unworldly creatures associated with the Addams. They’re all very effective and mostly delightful to watch.
Lucas Sherman’s superb eleven-piece orchestra drives the show, most of it conveyed by beautifully delivered song.
The core conflict — Will Gomez and Mortica accept Wednesday’s love for a boy from the wrong side of the graveyard? — carries the first act aloft. It’s like watching a magnificent hot-air balloon rise to a great height—imagine the penultimate scene in “The Wizard of Oz”—while the second act is like watching that same balloon settle slowly back to earth, a rise-and-fall written into the script. Even if the ultimate settling doesn’t make you leave the theater with a song in your heart, in total “Addams Family, a New Musical” is a dazzling bit of theater.
ASR Theatre Section Editor and Senior Contributor Barry Willis is a member of the American Theatre Critics Association and president of the SF Bay Area Theatre Critics Circle.
A community devastated by a natural disaster is the setting for Sharyn Rothstein’s gritty family drama “By the Water,” at Spreckels Performing Arts Center in Rohnert Park, through April 8. Directed by Carl Jordan, the production is exceptionally appropriate in the wake of last fall’s fires that swept through Sonoma and Napa counties.
Six years ago, Hurricane Sandy wreaked massive destruction throughout the East Coast. Entire neighborhoods were destroyed and many more dwellings were left uninhabitable. Mike Pavone and Mary Gannon Graham portray Marty and Mary Murphy, a middle-aged couple living in what remains of one such home, in a neighborhood where they raised two sons to adulthood and where they knew all their neighbors. The extreme likelihood of another massive storm has prompted a government program to level the whole area after buying out everyone who lived there. Marty is opposed to the buyout and adamant about rebuilding his home and neighborhood, and has launched a mostly one-man crusade to get his neighbors on-board.
The buyout offer is viewed by many as a godsend—especially by the Murphys’ friends Andrea and Philip (Madeleine Ashe and Clark Miller)—but Marty persists, alienating those he cares about most, including his devout Catholic wife and his son Sal (Mark Bradbury) a quiet supporter of his parents and wayward brother Brian (Jared N. Wright), recently released from prison and doing his best to stay clean—an effort reinforced by rekindled affection for his friend Emily (Katie Kelley).
Marty’s motivation for his rebuilding crusade is a mix of attachment to a lost way of life and a hidden personal agenda that’s pried out of him in a heartrending revelation. The script and cast are uniformly excellent, believable in everything from their slightest gestures to their accurate Staten Island accents. A strong but sensitive director, Jordan excels at casting, and here he has assembled a ideal team who perfectly blend their characters’ interwoven histories and explicit interactions. The whole affair plays out in what’s left of the Murphy home—damp, moldy, stripped-to-the-studs, and open to the elements—a grimly effective set by Eddy Hansen, who also designed the lighting.
The story has many parallels to “Death of a Salesman”—a failed businessman with personal secrets, a long-suffering wife, sons with problems, a neighborhood in transition, loyal neighbors—but has uplifting elements that “Salesman” lacks: moments of warm humor, and a resolution implying all that’s possible through forgiveness, loyalty, and love. It’s a wonderful redemption story, certainly the best production currently running in the North Bay. “By the Water” isn’t magical realism but something better: realistic magic.
ASR Senior Editor Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theater Critics Circle.
ASR Contributing Writer Sue Morgan is a literature-and-theater enthusiast in Sonoma County’s Russian River region. She is a voting member of the SF Bay Area Theatre Critics Circle. Contact: [email protected]
Nicole Singley is a Senior Contributing Writer and Editor at Aisle Seat Review and a voting member of the San Francisco Bay Area Theatre Critics Circle, Sonoma County’s Marquee Theater Journalists Association, and the American Theatre Critics Association.
